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BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27,
1913
Schenker asks the Beethoven-Haus to prepare and supply him with photographs of
the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111,
and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's
Ninth Symphony.
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BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 3, 1913
Schmidt consults Zitelmann as to whether to make photographs of the
first movement of Beethoven Op. 111 for Schenker,
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BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 14, 1913
Schmidt consults Zitelmann as to whether Schenker should be granted permission
for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other
Beethoven-Haus business.
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BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague,
dated December 14, 1913
Schmidt suggests that permission for photography of Beethoven's sonatas Op.
27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus
business.
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BNba 304g, [4a] Handwritten letter from Ernst Zitelmann (Beethoven-Haus) to an unidentified
colleague, dated December 18, 1913
Zitelmann responds to an unidentified colleague regarding F. A. Schmidt's
letters conveying Schenker's requests for photography and the use of an outside photographer
for these purposes.
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BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913
Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op.
27, No. 2, and Op. 28.
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BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913
Schenker states that he is writing a letter placing an order for photographs of
Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend
his permission to cover the latter two manuscripts.
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OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16,
1913
Schenker regrets that he is unable to offer Newlov lessons in the coming
season.
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OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24,
1913
Schenker says he has not received an alleged letter from Newlov; — he asks about
payment outstanding from 1912/13 season.
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OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25,
1913
Angry letter in which Schenker defends himself against the accusation that he is
demanding a fee that has already been paid: he has all her letters, copies of his own, and all
her payment slips. He describes her unorthodox payment system, comparing it with that of other
pupils. He details her payment record for 1912/13 and insists on payment for June
1913.
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OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 22, 1913
Kopfermann sends five photographic prints.
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OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 20, 1913
Kopfermann inquires after Schenker's photographic requirements.
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OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated November 18, 1913
Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony
that Schenker has requested; and notifies him of another source of this work in the Library's
holdings.
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OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 30, 1913
Kopfermann notifies Schenker of the dispatch of photographs and of the
cost.
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OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 21, 1913
The Library's photographer has been inundated with work and unable to start on
Schenker's order.
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OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
13, 1913
Schmidt thanks Schenker for the copy of his monograph Beethovens neunte
Sinfonie, and raises points of detail about the photography of the three requested
works.
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OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
3, 1913
Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich
Rose, direct in ordering photographs of the autograph manuscript of the first movement of
Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth
Symphony to the Beethoven-Haus library.
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OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26,
1913
Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held
by the Beethoven-Haus, and the extent to which photography of it has been carried
out.
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OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913
Koch agrees to supply photographs of Op. 110.
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OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913
Koch lists the Beethoven manuscript items in his possession.
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OC B/274 Postal receipt for a letter from Schenker to Louis Koch, dated October 27,
1913
Postal receipt for letter of October 26, 1913 to Louis Koch.
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OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913
Koch gives the provenance of the Op. 110 manuscript in his possession, and
other information.
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OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913
Koch will send required information.
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OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27,
1913
Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op.
101, but not of Op. 106.
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OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
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OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913
Max Meinert does not know the whereabouts of the autograph manuscripts of Op.
101 and Op. 106.
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OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913
Meinert has been unable to obtain further information.
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OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913
Dahms acknowledges receipt of Schenker's letter of September 27 and the
Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be
disseminating his work.
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OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6,
1913
Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are
late works and inferior to the early and middle-period works.
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OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913
Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch
has taken over the autograph manuscripts of Carl Meinert.
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OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
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OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]
Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein
grand piano, a Hammerklavier copy, and a clavichord.
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OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]
Hammer regrets Schenker's refusal to teach his wife.
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OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913
Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming
review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new
pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by
supporters of Schoenberg.
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OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913
Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil.
He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒
to him for instruction.
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OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913
Karpath had asked Schenker for support for Mittelmann and complains at Schenker's
rude reaction.
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OJ 13/23, [1] Printed form letter from Hugo Riemann to Schenker, postmarked April 15,
1913
Riemann requests autobiographical information for his
Lexikon.
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OJ 15/15, [1] Handwritten postcard from Weisse to Schenker, dated September 1, 1913
At the end of a relatively unproductive summer, Weisse is looking forward to
seeing his teacher.
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OJ 15/15, [2] Handwritten postcard from Weisse to Schenker, dated October 10?, 1913
Weisse asks for advice about modal mixture.
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OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913]
Returning home from a lesson with Schenker, Weisse makes observations on the
second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's
approval of his interpretation.
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OJ 15/15, [E] Handwritten lettercard from Weisse to Schenker, undated, [February 1913]
Weisse reports that Bruno Walter, whom he encountered in the street, does not
know the difference between counterpoint and fugue.
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OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913]
Weisse expresses his delight at the approach just made to his teacher from
publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has
learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be
addressed in future by the familiar "Du," though he would want to continue to use "Sie" when
addressing his teacher.
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OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913]
This communication consists of three parts: p. 1 offers an interpretation of a
passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer
concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of
the Waltz No. 12 from Brahms's Op. 39.
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OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913]
Weisse reiterates his congratulations on the approach from C. F. Peters, and
sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day
before.
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OJ 15/15, [M] Handwritten postcard from Weisse to Schenker, undated [December 24?, 1913?]
Photograph of Hans Weisse with inscription..
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OJ 15/16, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913
Weisse proposes composing a completely new first movement for his string
quintet.
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OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913
Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares
his allegiance to Schenker effusively. He asks to call on March 31 (his
birthday).
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OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913
Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use
of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about
this.
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OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913
Weisse reports receipt of a letter from Moriz Violin.
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OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913
Weisse sends a copy of a book [unidentified] and thanks Schenker again for his
teaching.
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OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913
Weisse asks for guidance on technical questions in his rewriting of the first
movement of his string quintet.
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OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913
Weisse reports on progress with his string quintet, and lists his travel plans
for late September.
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OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913
Weisse reports a conversation with Franz Steiner about Richard Strauss and his
alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with
Schenker.
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OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op.
109.
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OJ 15/6, [13] Handwritten notecard from Fritz Wahle to Schenker, dated October 15, 1913
Fritz Wahle thanks Schenker for sending his critical edition of Beethoven’s
Op. 109, which he has not yet had time to read carefully.
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OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12,
1913
Schenker thanks Evelina Pairamall warmly for sending him an article by
Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth
Symphony, and reports to her his own work on another autograph of that work. -- He asks if she
is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke
employing musical technical terms.
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OJ 6/5, [29] Handwritten letter from Heinrich Schenker to Valerie Violin, dated November 28,
1913
Heinrich and Jeanette have regarded it as their duty to invite Fanny Violin on
each occasion that they invited Moriz and Valerie; their conduct is thus blameless; only now
have they understood Fanny's true meaning in writing as she did after two years. They wish to
place no pressure on her and to help her overcome her illness.
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OJ 9/7, [1] Handwritten letter from Hermine d’Albert to Schenker, dated November 1,
1913
Hermine d'Albert writes that Schenker's letter to her husband has caused
him some distress, and he will provide an explanation in person. She hopes that
Schenker will be sitting near to her at the concert.
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OJ 9/7, [A] Handwritten letter from Hermine d’Albert to Schenker, undated
Hermine d'Albert on behalf of her husband invites Schenker for
tomorrow.
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WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913
Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.
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WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913
Schenker congratulates Seligmann on his latest feuilleton, especially on the
enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s
Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide
biographical details for an entry in Riemann’s Musiklexikon.